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New Rolling Stone issue with KISS

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On 4/7/2014 at 0:28 AM, Kirk said:

Wow!  Great story!!  You made Vitto an offer he couldn't refuse :P

So Tom Hanks aka Joe Fox was right about how every (business) situation can be solved via The Godfather.

"Monday, Tuesday, Thursday, Wednesday..." ;)

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marvin   

If you get a chance to read this Rolling Stone story on KISS, do so. It is incredibly revealing and tells you a lot about the size of Gene's ego. In my opinion that more than anything else is what's keeping Ace and Peter out of the Hall.

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Kirk   

Eric, along this same subject, I've seen songs credited to you on BMI that I've never heard mention of.  A few of the titles:

Blue Highway (with Dean Pitchford)
Det Var En Gang (with Oesten Warnerbring)
Dis Moi (with Roger Magnan)
Don't You Know What You Mean To Me (with James Girard and Richard Reising)
Esperando
Esta Noche (with Jose Zapater)
Far Jag Ta Dej I Min Gamn Igen (with Sven Bagge)
How Can You Tell
Ich Bin Allein (with Frank Dostal)
Jamais Se Esquece (with Murano)
Jamas Se Olvida Un Gran Amor (with Francisco Correa)
Je N 'Ai Que Toi (with Edmond Bacri)
Ne Me Dis Pas Goodbye (with Wally Bryson and Jean Morel)
Now I'm Alone
Nuevas Sensaciones (with Jose Zapater)
Olvidame ((with Miguel Tottis)
Quiet Train
Rivolglio Lei (with Cristiano Minellono)
Sosinho (with Rossini Pinto)
Standing Here (with Wendy Waldman)
Up All Night (with Dean Pitchford)
Your Last Chance

A lot of these are co-written with international songwriters.  These are all credited under your catalog- assuming BMI has this information correct- what can you tell us about these songs?  It's been a mystery that I've been wanting to ask you about for awhile now...

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So ... I guess it IS possible to be even more cynical than I was before. 

I watched "20 Feet from Stardom" this weekend, and this thread kept resounding in my head as I watched those fantastically talented, well-known background singers like Darlene Love and Tata Vega try for their own solo careers, only to be cheated out of them. Merry Clayton particularly broke my heart when she said (and I'm paraphrasing) that she thought if she poured her heart into something, it would be successful. 

By the way, I'd love to adopt Merry Clayton. Or she can adopt me. Whichever way works!

Cheryl

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Merry is a doll, AND quite a character! We played about 90 shows together during the Dirty Dancing Tour, and Merry sang a duet of "Almost Paradise" with me each night. She's a terrific lady!

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When an artist from Germany or Brazil wants to "cover" a song like "All By Myself" in their native tongue, the lyrics I wrote don't necessarily translate well into that language. A literal translation into Spanish might have far too many syllables to sing and would no longer fit the melody, so occasionally the artist or the label may request a lyric that would fit the melody, but in Spanish, for instance. Luis Miguel, a huge star in Latin America had a hit with a translation called "Perdoname," which, if  I'm not mistaken means "Pardon Me." "All By Myself" didn't translate well into German, so the Germans got "Ich Bin Allein", which translates to "I Am Alone." The one with Wally Bryson is a translation of "Don't Wanna Say Goodbye." And the remaining songs are things I made quick demos of for Universal Publishing, some newer, some very old.

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marvin   

More frrom the new Lewisohn book on the Beatles, and their contract with Brian:

QUOTE

Record companies didn't routinely hold artist management contracts, but it was probably Decca or EMI that Brian Epstein first obtained a sample document. He never revealed who it was, only that the terms were "quite disgraceful: it gave the artists no freedom, hardly any money and bound them." It could be a "weekly wage" contract or the kind that stole as much as 50% of an artists' earnings — they were all one or the other, their every clause shaped solely to the manager's advantage, many of them concealing outright theft of present and future rights and income. Line up every 1950's/'60's pop artist in Britain and America and ask those who weren't screwed by management to raise a hand, and you will see very few hands. This was the lion's den Brian was now entering, intent on being fair. The exclusive contract for five years from February 1, 1962, paying Brian 10% of all monies received, rising to 20% if their earnings exceeded $1,500 (pounds not dollars) each per year.

David Harris, a young partner at lawyers Silverman, Livermore & Co, said, "Brian was very keen indeed to ensure that the contract was a fair one. This was the tenor of his instruction: "I want to be fair."He was a middle-class boy, well educated, well spoken, dealing with lads who were, in that sense and in those days, of an inferior class, And he was very conscious of that, and he wanted to ensure that he wasn't seen as taking advantage of them because of his position. It was absolutely admirable."

ENDQUOTE

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On 4/7/2014 at 6:04 PM, Eric Carmen said:

When an artist from Germany or Brazil wants to "cover" a song like "All By Myself" in their native tongue, the lyrics I wrote don't necessarily translate well into that language. A literal translation into Spanish might have far too many syllables to sing and would no longer fit the melody, so occasionally the artist or the label may request a lyric that would fit the melody, but in Spanish, for instance. Luis Miguel, a huge star in Latin America had a hit with a translation called "Perdoname," which, if  I'm not mistaken means "Pardon Me." "All By Myself" didn't translate well into German, so the Germans got "Ich Bin Allein", which translates to "I Am Alone." The one with Wally Bryson is a translation of "Don't Wanna Say Goodbye." And the remaining songs are things I made quick demos of for Universal Publishing, some newer, some very old.

Eric, You're teaching us more every couple of hours.  ;)  M.E.

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